Po · Dei juk

The Chinese entertainment culture is not reknowned for its emotional output but occasionally out pops a movie that transcends the mainstream by a mile.

This one is such a movie and I've not seen one as good since I saw another Chinese movie, "The Shower" back in 2005.

"The Shower" has family ties and traditions as its centerpiece and has you biting your lip with heartrending scenes and I recommend that you watch it.... it's a marvellous movie.

This movie, though, goes even further and had most of the spartan audience blubbering unashamedly as the story brilliantly unfolds.(the audience spartan because the screening was at 9.50 pm on New Year's Eve.)

It starts with a middle aged, handsome and personable man falling into debt as a result of his failing "Wedding Planner" business in Hong Kong. The failure mainly because of political upheaval and the financial crisis.

He is offered a lifeline by one of his relatives and the lifeline is in the form of a partnership with an elderly, strict and irascible Daoist priest who runs a funeral business. The business follows very strictly and sincerely the ceremonies of the religion..

A clash of ideas immediately surfaces and we are treated to a tour-de-force of acting by every member of the cast, as we see how tradition faces the new world. The clash sweetly resolves into a mutual respect as they start to understand each other.

Underneath the main storyline is the family interplay of the Daoist priest, and a look into the characters of his son and his troubled daughter.

Daoist tradition will not permit a woman to conduct the ceremonies of sending the deceased to the afterlife as they are thought to be worthless. The son is only a reluctant follower to appease the wishes of his father.

The relationship between the Wedding Planner and the priest is a lovely story of adaptation and compromise while the relationship between father, son and daughter has everybody weeping in the theater at its intensity.

Some of the scenes where they embalm the deceased, especially one where they tenderly embalm a young child are almost too hard to take. But the skill of the cinematography and the gentleness of the acting lets you just about hold on.

If you can watch this movie without crying you must have a heart of stone, just a brilliant production.

A Hong Kong movie for the people of Hong Kong, it's been a while since the last time I've seen something like this. And the result shows. A testament that movies should be based on quality and not for the wider market only then can you create something that truly transcends to everyone. The Last Dance delves into an ancient tradition of the Canton people, and looks at how something like this affects the society of today. And by looking at the deceased, can we truly appreciate the living. A wonderfully created, dynamic film that has more to do with emotions, families than the topic itself and the box office is its best testament. Perhaps more impressive is the immaculate cinematography, it's so picturesque yet soaked in tradition and culture.

"Dominic" (Dayo Wong) is struggling to make ends meet, post COVID, with his business in tatters and his repayment bills at almost $13,000 per month. He's not afraid of hard work, though, so when his "Uncle Ming" (Paul Chun) offers him his share in a funeral parlour he jumps at the chance. His partner - rather sarcastically referred to as "Hello Man" (Michael Hui) comes across as a rather curmudgeonly fellow - a traditionalist Taoist priest who lives with his ambulance-driving daughter "Yuet" (Michelle Wai) and his favourite son "Ben" (Pak Hon Chu) who is attempting to follow in his father's footsteps. Thing is, in his excitement to get the job done and to make enough money to clear his debts, he makes quite a few schoolboy errors at the start that are way more lively to offend the ancestors than send them peaceably on their way to the next life, and that just irks the older man who feels his new pal is disrespectful. As the story unfolds, we follow a young man who learns a little more about a business that is really anything but. At times this is quite a funny story, with a special appearance by a full-sized, papier-mâché, yellow Maserati rather summing up the ineptness of "Dominic" as he strives for success, but that humour rather quickly evaporates leaving us with a familial drama the can be quite poignant at times as it looks at the restricting roles for women and the hereditary responsibility of sons. Given the professions of the characters, grief is never far away and we focus quiet tenderly at times at just how people come to terms with that - or not, whilst we also try to reconcile just how families themselves change from generation to generation, with some tough decisions having to be made that centre around "Ben" and his need to look forward and not back. The acting is engaging and the dialogue well written, allowing the action to do plenty of the work without subjecting us to a constant surfeit of chatter, and it handles the topic of death and the provisions we make to deal with it and it's aftermath sensitively.

You can never compare this film with other title that shoot for a far bigger picture or genre.

But this film is a lead example of masterpiece, doing everything well within its lane, especially with such a non-mainstream topic about some Chinese funeral ceremony. It is absolutely amazing how the director and team able to tell a story/paint a beautiful picture around this topic.

It has great acting, although the pace at the first part of the film might be a little slow for some audience, but it was just interesting enough to keep my attention. With that, the film has great introduction to all the major characters in this story in order to move into act 2 and 3.

Beautiful film that send great message without shoving it down your throat. None of the actors' performance or the scripts were written over the top that it became unrealistic or forcing a emotional reaction. But rather a natural state of flow that takes the audience emotion for a ride.

The best film from HK so far.

I went in watching this not knowing a single thing but was weeping by the end of it. This is a character-driven movie with well-written characters. I'm not sure if it was intended but the start of the movie made me slightly uncomfortable (?) because the protagonist was clearly in it for the money, which was understandable because he had a lot of debts. However as the movie progressed and Dominic (the protagonist) gained more experience in the funeral business, he also became more empathetic and respectful of not only the dead but the dead's family. It was really good but the one aspect of this movie that hit me the most was the relationship between Hello-man and Man Yuet, his daughter. Throughout most of the movie they barely got along but it was when crisis struck that he and his daughter started getting closer. They didn't have a perfect relationship but they loved each other in their own ways and it's another parent-daughter dynamic that reminded me of the quote from Arcane, "Is there anything so undoing as a daughter?"